From Mr. Thompson:

Throughout our study of editing, we have looked at some very contained films. 'Rear Window' takes place in an apartment, 'High Noon' in a town. Both 'High Noon' and 'The Manchurian Candidate' are shot in black and white to give them a stark documentary feel.

This week that changes.

'Lawrence of Arabia' is a first ballot Hall of Fame epic. It's scope is immense and the color is such that you might agree with me that no film has ever made the desert look more beautiful. The film is full of memorable cuts, scenes, lines, and performances. There's a reason this film is number 7 on the AFI's Top 100. Peter O'Toole, receiving one of his many Academy-Award nominations in the role of T. E. Lawrence, is absolutely mesmerizing in this story of a complex individual. Films like this don't get made anymore, and they never will again (not with the advance of CGI). The film is an oasis of brilliant storytelling that today's great directors return to time and again to rediscover inspiration.

You will also get to meet Anne V. Coates, one of the many, many great FEMALE editors who fill the halls of film history. In the early days of silent cinema, editing was done by women because it was seen grunt work (and in many ways, it still is). Of course, these days that thinking has been flipped on its head. There will be an extra credit reading up later about the influence of female editors on film history if you're interested in learning more.

To be honest, I don't remember the first time I saw 'Lawrence of Arabia.' I could have been a teenager or in my thirties. My recollection of the film transcends the context in which I saw it, which is essentially impossible. What I do remember more than anything else are Peter O'Toole's eyes: ocean blue in a sea of blazing oranges, yellows, and browns. As vast and ambitious as the film is, it always comes back to the enigmatic O'Toole and the perfect power and subtlety of his performance. Lawrence is not a traditional film hero, but he is a memorable one.

On a side note, I sometimes overhear students complain about older films being "too slow." To that criticism, I would reply, "Are you sure that today's movies aren't 'too fast?'" We are conditioned to consume films rather than savor them. We're always in such a hurry to get to the end that it's a wonder we don't just start films five minutes from the credits. 'Lawrence of Arabia' isn't fast food meant to be wolfed down to satisfy our hunger for entertainment. It's a 12-course meal meant to be enjoyed for it's array of flavors at the speed at which it's served. So, sit back, relax, and don't be in such a hurry to devour one of the greatest films of all time.

Enjoy David Lean's stunning 1962 triumph, 'Lawrence of Arabia.'